SEMESTER AT SEA COURSE SYLLABUS
Voyage: Spring 2014 Discipline: Music MUSI 1070-501: Global Music (1) Field Lab: 10 April. African Drumming and Dance, Tema, Ghana MUSI 1070-502: Global Music (2) Field Lab: 11 April. African Drumming and Dance, Tema, Ghana Faculty: Professor Ingrid Bianca Byerly
COURSE DESCRIPTION: This course investigates the sound and sentiment of traditional and contemporary music in each region and port-of-call on our journey. Distinctive sounds in unique places reflect and resonate meaningful characteristics and concerns in cultural contexts. As the voice of society, music echoes ideology, behavior, rituals, values, aesthetics and history. We will discover why music serves as a universal language of harmony, a regional declaration of individuality, and an unsurpassed vehicle for cross-cultural communication.
We will explore the styles and significance of global music forms as we travel around the world. Music reveals how unique sounds of unique places reflect and resonate the particular character and concerns of cultures, and the individuals belonging to those cultures. There are innumerable creative ways through which musicians fashion their craft to articulate their beliefs and express their cultural norms. Unique configurations of melodies, harmonies, rhythms, timbres, textures, instrumentations and lyrics reveal colorful identities and articulate complex ideologies. We will contrast the sounds and structures of the various musical cultures of our travels, exploring the cross-cultural similarities and differences between styles, and determining the motives and functions of each form; whether as entertainment, narrative commentary, expression of feelings, forms of worship or accompaniment to rites of passage. We will discover why music can serve as both a universal language of harmony, a vehicle for cross-cultural dialogue, and a regional declaration of individuality. Finally, we explore the imperative development of global styles from traditional to popular, as global influences and internal predicaments affect the boundaries of style and cause worldwide hybridizations. These forms include Hawaiian hapa haole, Japanese enka and j-pop, Chinese opera and canto-pop, Southeast Asian dangdut, Indian Bollywood, South African kwaito and Ghanaian traditional drumming and contemporary highlife. Through an investigation of their music, we will reveal both the strong influence of creative individuals in reflecting and shaping the history of their societies in particular, and the enormous importance of global music in ‘sounding culture‘ in general.
1 COURSE OBJECTIVES:
Gain an understanding of the significance of the study of ethnomusicology. Gain a perception of the methods and motives of music in cultures. Cultivate an appreciation for the various styles of music around the globe. Gain an insight into the transformative power of music in society. Foster an appreciation for the ways in which music reflects history. Become familiar with both the overlapping and contrasting techniques which differentiate, influence and assimilate genres across countries or cultures. Gain an appreciation for the numerous and ingenious skills musicians use to both reflect and create their society through sound. Gain a solid understanding of the role of nationalism, particularly as it relates to modern revolution around the world. Consider the revolutionary elements in music that have been used to outwit censors in oppressive regimes. Become acquainted with the textural ‘soundscapes’ of countries that will be visited during the course of our travels. Examine relationships between musical sounds and practices and wider social, political, and religious concerns within each region Develop critical reading, thinking, listening and writing skills through audio, reading and written assignments; and presentation skills based around a field lab. Learn to identify instruments, genres, and stylistic features of the musics under investigation In port, students investigate where, when, and why music occurs, with particular attention to the role music plays in projecting cultural identity
COURSE SUPPLIES:
REQUIRED TEXTBOOK: AUTHOR: Alves, William TITLE: Music of the Peoples of the World, 3rd ed. PUBLISHER: Schirmer (Cengage Learning) ISBN #:9781133307945 DATE/EDITION: 2013, 3rd Edition
ELECTRONIC COURSE MATERIALS Articles for access (in whole or in part) from Global Music Intranet folder: (Including selected pieces from the Garland Encyclopedia for World Music)
AUTHOR: Attali, Jacques CHAPTER TITLE: Foreword (by Fredrick Jameson) and Chp One- Listening TITLE: Noise: The Political Economy of Music PUBLISHER: Manchester University Press ISBN #: 0-7190-1471-9 DATE/EDITION: (1977) Trans 1985 Pgs: Foreword (vii-xiv) and Chapter One (pp 3-20) 2
AUTHOR: Tame, David CHAPTER TITLE: Overture: Music and its Power TITLE: The Secret Power of Music: The Transformation of Self and Society through Musical Energy PUBLISHER: Destiny Books ISBN #: 0892810564 DATE/EDITION: 1984 PAGS: 13-32
AUTHOR: Wade, Bonnie CHAPTER TITLE: Introduction and Chapter 1 TITLE: Thinking Musically: Experiencing Music, Expressing Culture PUBLISHER: Oxford University Press ISBN #: 0195136640 DATE/EDITION: 2004 (or later)
AUTHOR: Byerly, Ingrid Bianca ARTICLE TITLE: Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa JOURNAL: Ethnomusicology VOLUME: Winter 1998 Volume 42 DATE: 1998 PAGES: 1-44
AUTHOR: Byerly, Ingrid Bianca CHAPTER TITLE: Chapter 8: Musical Markers as Catalysts in Social Revolutions: The Case of Gabriel’s ‘Biko’ BOOK TITLE: PETER GABRIEL, FROM GENESIS TO GROWING UP (eds. Michael Drewett, Sarah Hill and Kimi Karki DATE: 2010 PAGES: Chapter 8 pp 113-130 PUBLISHER: Ashgate Publishers, London
AUTHOR: Byerly, Ingrid Bianca ARTICLE/CHAPTER TITLE: Chapter 17: What Every Revolutionary Should Know: Musical Models of Global Protest JOURNAL/BOOK TITLE: THE ROUTLEDGE HISTORY OF SOCIAL PROTEST IN POPULAR MUSIC (ed. Jonathan Friedman) DATE: 2013 PAGES: 330-345 (?) PUBLISHER: Taylor and Francis/Routledge, New York
AUTHOR: Byerly, Ingrid Bianca BOOK TITLE: COMPOSING APARTHEID: Music for and Against Apartheid. CHAPTER: Chapter 12: DECOMPOSING APARTHEID Things Came Together: The Anatomy of a Music Revolution. (ed. Grant Olwage) DATE: 2007 PAGES: (Chapter 12) Pp. 256-280. PUBLISHER: University of the Witwatersrand Press, Johannesburg.
AUTHOR: Langlois, Tony ARTICLE/CHAPTER TITLE: Pirates of the Mediterranean: Moroccan Music Video and Technology JOURNAL/BOOK TITLE: Music, Sound, and the Moving Image VOLUME: 3:1 DATE: Spring 2009 PAGES: 71-85
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GARLAND ENCYCLOPEDIA SECTIONS: (Routledge)
AUTHOR: Jones, L. JaFran CHAPTER TITLE: North Africa: An Overview BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 6: Middle East DATE: 1999 PAGES: 429-439
CHAPTER TITLE: Andalusian Nuba in Morocco BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 6: Middle East DATE: 1999 PAGES: 455- 464
CHAPTER TITLE: Music and Other African Arts BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 1: Africa DATE: 1997 PAGES: 102-122
CHAPTER TITLE: Performance in Madagascar BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 1: Africa DATE: 1997 PAGES: 781-792
CHAPTER TITLE: Music of the Indian Subcontinent: Hindustani Raga BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 5 DATE: 1999 PAGES: 64-88
CHAPTER TITLE: Southeast Asia: Overview BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 4 DATE: 1999 PAGES: 2-22
CHAPTER TITLE: South East Asia: Burma BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 4 DATE: 1999 PAGES: 363-400
CHAPTER TITLE: South East Asia: Vietnam BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 4 DATE: 1999 PAGES: 444-516
CHAPTER TITLE: South East Asia: Singapore 4 BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 4 DATE: 1999 PAGES: 518-526
CHAPTER TITLE: East Asia: China BOOK TITLE: Garland Encyclopedia of World Music VOLUME: Volume 7 DATE: 1999 PAGES: 87-93 (Overview) and 274-280 (Opera)
ADDITIONAL RESOURCES: FILMS (or parts of films):
GENERAL OVERVIEW TOPICS: Baraka: (1992) Directed by Ron Fricke The Language You Cry In: 1998. Directed by Angel Serra Latcho Drom: 1993 Directed by Tony Gatlif Crossroads: (1986) Directed by Walter Hill
JAPAN Yoshitsune and the Thousand Cherry Trees [Bunraku puppet theatre] The Lovers' Exile [Bunraku puppet theatre] Imoseyama (aka Mt. Imo and Mt. Se) [Bunraku puppet theatre] ‘The Japanese Version’ 1991
CHINA The Peony Pavilion [Kunqu opera] Cantonese Opera: Searching the Academy (The Runaway Maid) Resonance of the Qin [documentary about the Qin zither] Yang Ban Xi: The 8 Model Works [documentary about music in the Cultural Revolution]
VIETNAM: Ca Tru song style in Feature Film o, thơI vang
SOUTH AFRICA Searching for Sugarman (Also to be on the ship television loop for analysis and general viewing) Amandla! A Revolution in Four-Part Harmony: Music in the Anti-Apartheid struggle
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COURSE OUTLINE AND SCHEDULE:
INTRODUCTIONS:
A1- January 12: Topic: Course Introduction. Music as Expression of Societies: The Nature and Function of Ethnomusicology as analytical earpiece. Text: Alves pgs 1-46. Jacques Attali Introduction (with Jameson Preface). Audio/Video: Clip Collage. Classical and Global Music sample quiz.
A2- January 14: The 6 Ages of Classical Music (with samples) Topic: Music as Mirror. Forged Identity, Effective Tourism and the Sounds of Hawaii Text: David Tame and Bonnie Wade Introductions Audio/Video: Video samples of Hawaiin styles
A3- January 16: Art and Influence: (FANON’s model of the colonization/decolonization process) The use and influence of global world, blues, classical music and fused cultural influences in animated films: Gallipoli (Samuel Barber), Good Morning Vietnam (Louis Armstrong), Lion King (African and operetta recitative – director’s/extended cut) and Jungle Book (African Influences), Mulan (Chinese), Lilo and Stich (Hawaii), Snow White and Beauty and the Beast (Classical/Broadway Musical Genre), Fantasia (Classical symphonic), Shrek (Popular and Rock Influence and ‘Hallelujah’), Aladdin and the King of Thieves (Persian//Middle East).
HAWAII January 17: Hilo (Refuel Honolulu January 18)
A4- January 19: Topic: Introduction to Japanese culture and music Text: Alves Chapter 15 Contemporary Japanese styles, enka and j-pop Text: Garland Volume 7 part 4: Musical Profile of Japan Audio/Video: Powerpoint style overview
A5- January 22: Audio/Video: Traditional Music styles Collage and video clips from ‘The Japanese Version’ Topic: Chinese traditional opera- Xiju Text: Garland Encyclopedia except: East Asia, China (Volume 7) Audio/Video: Prezi Presentation with samples /The Runaway Maid
A6- January 25: ‘The JapaneseVersion’ Critique
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A7- January 27: Topic: China, cultural revolutions and the Internationale ; anthems as Socio-Politial statement Text: Alves chapter 14 Audio/Video: Internationale recordings and Sample of opera The Peony Pavilion
ARRIVE JAPAN: January 29 Yokohama 29/30 January In Transit January 31 Kobe 1-3 February
A8- February 4: Topic: The Second Sino-Japanese War 1937-1945 and Japanese Puppet Theatre Text: (None) Audio/Video: Samples of : Yoshitsune and the Thousand Cherry Trees and The Lovers' Exile and Imoseyama [Bunraku puppet theatre]
ARRIVE SHANGHAI-HONG KONG February 6-7: Shanghai, 8-9 in Transit, 10-11 Hong Kong
A9- February 12: Topic: Introduction to Vietnam; The Vietnam/American war from American music perspective Text: : Garland Encyclopedia of World Music: Volume 4 Part 1 South East Asia: Vietnam The Vietnam/American war from the Vietnamese musical perspective Text: Garland Encyclopedia Volume 4 part 2 South East Asia: Vietnam Sections from Vietnamese film o, thơi van
ARRIVE VIETNAM February 14-19: Ho Chi Minh City
A10- February 20: Topic: Singaporean Nationalism forged through music and Independence Day celebrations Introduction to Water Puppet theatre Text: Garland Encylopedia of Music, Volume 4: East Asia: Singapore Audio/Video: Prezi presentation.
7 ARRIVE SINGAPORE February 22-23: Singapore
A11- February 24: Topic: The Burmese Dilemma: Music, Religion and Protest Text: Garland Encylopedia of Music, Volume 4: East Asia: Burma Audio/Video: Traditional performance video collage/ News footage of Monk Protests; 2007 and 2012
ARRIVE MYANMAR/BURMA Feb 27-March 4: Rangoon
A12- March 5: Topic: Introduction to Traditional Indian style and Raga Text: Alves Chapter 13 Audio/Video: Style samples
A13- March 7: Topic: Bollywood and contemporary Indian music styles Text: Garland Encyclopedia; Music of the Indian Subcontinent: Hindustani Raga Garland Encyclopedia of World Music Volume 5 Audio/Video: Bollywood samples (and finale station dance from Slumdog Millionaire)
ARRIVE INDIA March 9-14: Cochin
A14- March 15: Topic: Introduction to the Influences of Music in Mauritius (and Reunion and Madagascar) Text “Performace in Madagascar’ Garland Encyclopedia Audio/Video: Clips; ReunionMadagascar/Mauritius samples of African/Asian influences.
A15- March 17: Topic: Sega Music Style Text: ‘Sega Style’ notes (pdfs)
A16- March 20: Audio/Video: ‘Video ‘The Language you Cry in”
ARRIVE MAURITIUS March 21: Port Louis
8 A17- March 23: Topic: Introduction to South African history and the legacy of Apartheid Text: Byerly “Music Indaba” Audio/Video: Sections of Amandla
A18- March 26: Topic: Traditional music styles and social accents Text: Alves Chapter 6 (part 1) Audio/Video: Prezi Presentation.
Topic: Style and Collaborations in the Rainbow Nation Text: Byerly: ‘Things Come Together” Audio/Video: Commentary on‘Searching for Sugarman’
(FULL VIDEO ON SHIP LOOP AT THIS TIME)
ARRIVE SOUTH AFRICA March 28-April 2: Cape Town
A19- April 3: Topic: Music of Subsaharan Africa Text: Alves chapter 6 (part 2) Audio/Video: Drumming and dance samples from ‘Baraka’ (Sky dance (North) of Masai vs. Earth dance (South ) of Zulus
A20- April 5: Topic: Traditional drumming and dance of Ghana/Modern Highlife Text: Handout of Merriam / Farris-Thomson comparative criteria of Western’African music Audio/Video: samples and prep for Field Lab.
A21- April 8: Topic: North African style and Arab influence Moroccan contemporary styles: hip-hop and the Arab Spring Text: Alves chapter 7
ARRIVE GHANA April 10-12: Tema Field Lab 1: 10th. Field Lab 2: 11th April 13-14: Takoraki
A22- April 15: Topic: Global Perspectives from above Text: Baraka script- places Baraka film 9
A23- April 17: The Making of Baraka
A24- April 20: Summary of Themes
ARRIVE MOROCCO April 23-27: Casablanca
A25: April 28th: FINALS DAY for A-Days Courses
April 30: CONVOCATION
May 2: ARRIVE SOUTHAMPTON/LONDON
FIELD WORK
Every student will keep a FIELD JOURNAL in which reflections and analyses of music that they are exposed to (in both class and ports) are recorded. The purpose of the field journal is twofold: 1) to encourage students to discover as many music forms and genres as possible as they travel, so as to familiarize themselves with the styles and ‘soundscapes; of various cultures, and 2) to become versed in how to verbalize in discussions about music. Expressing the attributes and components of music in words is an art in itself, and this exercise allows for better fluency when engaged in ‘speaking music.’ In addition, each student will interview two musicians in any port, to discover not only their personal history, but also their musical history. Interviewing techniques will be part of the preparation for these events. Every student is required to participate in a full-day Field Lab in one of the ports. During this venture, students will keep thorough notes of all aspects of the experience: 1) people, 2) places, 3) musical performance, 4) cultural relevance and 5) personal reflections.
10 FIELD LABS Group 1: 10 April Group 2: 11 April
TEMA, GHANA: WEST AFRICAN DRUMMING AND DANCE WORKSHIP The Global Music candidates will have the privilege of participation in a unique and transformational experience: the Drumming and Dance Worship led by the esteemed Fred Tay, Artistic Director of Ayekoo Africa Arts affiliat4d to the University of Ghana. Revealing the relevance of Farris-Thomson’s description of the irrevocable connection between music and dance, and consequently, the bond between body and sound, students will learn about the complexity of African rhythms while tying them into the resulting challenge and pleasure of corresponding movement. Drumming and movement are central to means of communication and expression in this area, and students will be shown the value and pleasure of the use of these methods in communities where music is not just ‘optional entertainment’ experienced in isolation, but central to the fabric of the community.
FIELD ASSIGNMENTS
Students will write a five-page assignment dealing with each of the topics recorded during their field lab. This will comprise a single page per topic on each aspect of the fieldnotes taken: 1) people, 2) places, 3) performance, 4) cultural relevance) and 5) personal reflections. Please note: Both the field journal and the Field assignment will be handed in simultaneously. (Be advised then, that your music field journal should be apart from your personal journal – not intersperse with it- so that all sections will be available for your professor to access and read. []).
METHODS OF EVALUATION / GRADING RUBRIC Each student be graded on the following aspects of the course: (Details of amounts subject to change) Class Participation : Readings and Reflections (100 points) 2 multiple choice quizzes (50x2) (Recognizing musical pieces, styles, and instrumentation dealt with in class, and available for listening and analyzing on the MV Explorer intranet). Field Journal (recording their musical observations in ports and interview with musician/s) (100 points) Field Lab (participation and 5-part paper) (100 points) Final reflections (100 points)
The total number of your points (out of 500) will be divided by five to determine your percentage.
HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: “On my honor as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge must be signed, or, in the case of an electronic file, signed “[signed].
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